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A comparative study of piano curricula in Egypt and the USA (with specific
reference to the School of Music at the University of Illinois)
Sahar Abdel Moneim Hanafy Eid
International Journal of Music Education 2010 28: 353
DOI: 10.1177/0255761410381725

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Article

International Journal of
Music Education
A comparative study of piano 28(4) 353–368
© The Author(s) 2010
curricula in Egypt and the USA Reprints and permission: sagepub.
co.uk/journalsPermissions.nav
(with specific reference to the DOI: 10.1177/0255761410381725
http://ijm.sagepub.com
School of Music at the University
of Illinois)

Sahar Abdel Moneim Hanafy Eid


Menofia University, Egypt

Abstract
This research draws a comparison between the School of Music at the University of Illinois, USA
and the Faculty of Music Education at Helwan University in Cairo, Egypt (the researcher’s academic
appointment is at Menofia University, but she teaches on the faculty of Helwan University). The
research answers two important questions: (1) What weaknesses in Egyptian piano curricula lead
to students’ poor performance in exams? (2) What steps can be proposed to address these
weaknesses and to help improve students’ performances in piano exams?
The research comprises three parts: Part 1 presents an overview of music education in Egypt
and a detailed description of the Faculty of Music Education, its origin and development over
the years. This part addresses music education in general and piano curricula in particular, while
focusing on the relevant shortcomings that lead to students’ poor levels of piano performance.
Part 2 sheds light on the piano curricula in the School of Music at the University of Illinois. Part
3 compares undergraduate piano curricula in both situations, highlighting relevant strengths and
weaknesses. Finally, recommendations are proposed and conclusions stated to address weaknesses
in the piano curricula of the Faculty of Music Education at Helwan University.

Keywords
Egypt, instruction and study, piano curricula, piano pedagogy

Introduction
With the advent of the 21st century, it is imperative to ask ourselves: what did we do to prepare our
younger generations for the new century? To answer this question, in the context of Egyptian music
education, it is important to examine the existing music curricula, especially with respect to the

Corresponding author:
Sahar Abdel Moneim Hanafy Eid, St# 1 Al-Madrasa Al-Kawmiya, Awl Al-Manial, Apt# 5, Cairo, Egypt.
Email: saharhanfy@yahoo.com

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354 International Journal of Music Education 28(4)

piano major. Identifying strengths and weaknesses in piano curricula is essential to enhance the
professional development of future music teachers.
Higher education represents the main vehicle to achieve progress and advancement, especially
in developing countries. Acknowledging the vital role education plays in countries worldwide is
important as societies seek to improve their various educational institutions. That being said,
developing university education in general and music education in particular has become a priority
in Egypt. Remedial action is urgently required because of the weak standard of music students in
Egypt. Arguably, in Egypt’s higher education system, students’ piano performances reflect obvious
weaknesses in the undergraduate music education curriculum.
During the period as a Visiting Scholar at the University of Illinois at Urbana-Champaign, from
November 2007 until July 2008, I compared the undergraduate piano curricula in the Faculty of
Music Education at Helwan University, Cairo, Egypt1 to that of the School of Music at the University
of Illinois, USA. I examined the undergraduate admission standards, heard the students perform,
observed teaching approaches, studied online statements about the university’s music curricula, and
took advantage of the vast resources of the University of Illinois world-class music library.
Furthermore, many in-depth discussions with Dr Reid Alexander, Professor of Music (piano and
piano pedagogy), who agreed to sponsor me as a visiting scholar, proved illuminating. It is expected
that changes will be proposed at Helwan University based on the research findings of this article.

Part 1: Music education in Egyptian society


Music has played a very important role in ancient Egypt since the time of the Old Kingdom (3400
AD) Music found its way into many Egyptian contexts: temples, palaces, battlefields and the
tombs. Music was an integral part of religious worship in ancient Egypt. Paintings and engravings
on the walls of temples prove the importance of music in Pharaonic civilization. As a sacred sci-
ence, music was only studied by high-ranking priests, who also studied astronomy and medicine.
Moreover, many of our modern-day musical instruments existed in ancient Egyptian times.
There were versions of the violin, harp, panpipe and kinnar (lyre). Ancient Egyptian music was
based on a minor pentatonic scale of five full tones without halftones. This fact can be inferred
from the positions of the holes on flutes. In Old and Middle Kingdom tombs, inscriptions of songs
can be found, and hymns were sung to the accompaniment of a harp in temples and during public
celebrations. Singing, often accompanied by the clapping of hands, was integral to Egyptian cul-
ture, sacred and secular (Anderson, 2001, pp. 1–7).
The first serious effort to draw attention to the status of music training in Egypt was The
International Arab Music Conference in 1932, sponsored by the Ministry of Education. Music
education in Egypt was among the themes of this conference. One recommendation of the confer-
ence stressed the necessity of music education. This unprecedented conference triggered a sprout-
ing interest in music education in Egypt (Shehab, 1996, p. 15). Accordingly, formal music education
was incorporated during the early 1930s in all levels of education.
The musical life in Egypt and the Arab world then witnessed a remarkable growth. First, the
Higher Institute for Music (Cairo Conservatoire) was established in 1959. It now includes primary
and secondary divisions and seeks to graduate professional musicians who can perform on orches-
tral instruments, as well as solo and choral singing. The Higher Institute is considered the fountain-
head that provides the Egypt Opera House with qualified musicians and singers. In this context, it
is worth mentioning that the Egypt Opera House represents a national cultural center that aims to
establish a connection between the national and world musical cultures. It seeks to combine world

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Eid 355

music with al-turath, the heritage of the Egyptian folk music, and muwashahat, which means
traditional song. A goal of the Opera House is to build the personality of the Arab and Egyptian
individual through art and music.
Second, faculties of specific education (Menofia University, 2006–07, pp. 2–3) were estab-
lished in different parts of Egypt in 1989. These various faculties cover numerous academic disci-
plines and follow a typical four-year course of study providing an undergraduate degree in different
majors, including music education. Thus, the faculty of music education is considered the govern-
ing umbrella for all Egyptian music departments that train future teachers in the music discipline.
Throughout Egypt, faculties of specific education accept students who hold the General Secondary
Certificate and pass appropriate discipline specific entrance exams.

Faculty of Music Education at Helwan University


The Faculty of Music Education at Helwan University was established in 1935–36 as the first edu-
cational edifice for music in Egypt and the Arab world. Its mission was to prepare a music teacher
who is fully aware of western and Arab music styles. The faculty is considered a rich source of
professional music teachers for Egypt. Helwan University offers the degrees below in music.

Bachelor degree in Music Education (BME).  The required period to obtain the Bachelor in Music
Education is five academic years starting with a preparatory year. To be accepted students must
pass a musical aptitude test.

Master’s degree in Music Education (MME).  The Master’s Degree is given in one of the following
majors:2

1. Theory and Composition (world music, composition, western music theory and history)
2. Performance (piano, voice, orchestral instruments)
3. Music education studies (solfège, rhythm, and improvisation)
4. Arab music (Arab music composition, Arab music history)

These four majors reside in the following academic departments:3

1. Theory and Composition


2. Performance
3. Solfège, Eurhythmics, and Improvisation4
4. Arab music

Undergraduate music admission requirements


Unlike the USA, there is not a piano performance or piano pedagogy major in Egyptian music
education. All Egyptian students desiring to major in music enroll in one curriculum called Music
Education and take piano for five years. In this sense, the broadest interpretation of music educa-
tion is used to describe the academic discipline of music. Applicants must hold the General
Secondary (high school) Certificate in literature or science. To be admitted, they must pass the
musical aptitude test, which comprises solfège and rhythm tests to determine the applicant’s musi-
cal ear and aural retention. A minimum score of 60% is required.

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356 International Journal of Music Education 28(4)

Regulation of study
The academic year is divided into two semesters, each semester lasting for approximately 3 months
or the equivalent of 14 weeks. To take the examination for any subject, the student must attend a
minimum of 75% of class meetings. If the student’s attendance is poor, the faculty council can
issue a resolution prohibiting the individual from sitting for the final examination. By submitting
an acceptable excuse to the faculty council, the student can then take the final exam. Promotion to
the next academic year occurs if all exams are passed. However, if three subjects are failed in the
discipline, the individual cannot advance to the next academic year.

Undergraduate piano study at Helwan University


Of the undergraduate music students who matriculate annually, only 10–15% study piano prior to
college. Because pianos are not available in most homes in Egyptian society, only students from
the upper class are able to afford lessons. Taking pre-collegiate music lessons is an opportunity
only available to those from affluent backgrounds.
The performance department at Helwan University includes piano faculty at the rank of profes-
sor, associate professor, lecturer and assistant lecturer. Teaching contact hours per week are based
on the following schedule: 16 hours for professor, 20 for associate professor, 24 for lecturer and 28
for assistant lecturer. Any given year, the approximate number of entering music majors is 110. All
of these students study piano as one of the two primary instruments through the senior year. At
Helwan University, each music major receives two hours of piano instruction every week. In addi-
tion, the student studies a second instrument for two hours every week. Thus, a teaching load of 12
students translates into 24 contact hours. For each instrument, the instruction is one-on-one. A
defined piano curriculum, Syllabus for Piano 2007–2008 (see appendix), is prescribed for each
year. Repertoire is selected from the syllabus based on the student’s background and potential.
After the preparatory year,5 the piano curriculum for the four years of undergraduate study is
divided into eight semesters. A panel of three faculty members conducts the piano exam or jury at the
end of every semester. The faculty hears the student’s programme based on the appendix below. By
the senior year all music education majors must play repertoire and technique at the following level:

Senior year piano

1. Scales: Si (Ti) and Fa# (B, F-sharp), similar motion, two octaves, unless stated differently:
a. Major and all forms of the minor
b. Harmonic minor scales in contrary motion
c. Arpeggios of the above major and minor keys
d. Dominant and diminished seventh arpeggios, root position
e. Above major and minor scales in thirds
2. Bartók: Select one piece from Mikrokosmos, Vol. 4
3. Bach: Select one three-part invention
4. Studies: Select one study from Czerny, op. 299

Senior year piano II

1. Scales: Do# and La-flat (C#, A-flat), same as Piano I


2. Sonata: Two contrasting movements from any sonata

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Eid 357

3. Additional repertoire, select one composition from the following:


a. Chopin Valses
b. Mendelssohn Songs Without Words
c. Albeniz (any piano composition)
d. Debussy (any piano composition)
4. Sight-reading at fourth year level

Part 2: Piano curricula at the University of Illinois School of Music


The School of Music at the University of Illinois is considered a prestigious music school in the
USA. The school’s facilities include studios, classrooms, rehearsal rooms, digital pianos, multi-
media practice rooms, and studios for electronic music and computer music. Several auditoriums
are used for concerts, recitals and musical theater performances. The Music Faculty and students
present recitals and concerts throughout the year. I attended several concerts given by music
majors, and was delighted by their performances. They persuasively performed significant works
by composers such as Beethoven, Bach and Brahms. The excellence of the performances is
largely attributed to the quality of instruction, but also the high level of musical proficiency
required for admission to the School of Music. A successful piano audition by a senior in high
school more than likely indicates practice and dedication have occurred during the secondary and
elementary years.
Moreover, the availability of pre-collegiate music study in the USA and the depth of musical
background is a factor in musical progress. American families seem to place a high priority on
music education and employ private teachers to instruct their children in music during early child-
hood. I was given the opportunity to attend music classes for children. Music books and piano
instruction methods for children are widely available for use in teaching music at early ages.
In the area of piano, the School of Music offers two professional undergraduate degrees: the
Bachelor of Music and the Bachelor of Music Education. The latter has three specializations: cho-
ral music, general music and instrumental music (wind and percussion or strings).6

Bachelor of Music Education – kindergarten through grade 12


The Bachelor of Music Education program at the University of Illinois wonderfully prepares stu-
dents to become band and/or choral music teachers in secondary and elementary schools. Students
are required to complete 130 semester hours of credit for graduation, general criteria that are men-
tioned by the Music Educators National Conference as early as 1953.7 The curriculum has special-
ized method and conducting courses that prepare students as educators. Senior students teaching in
elementary and secondary schools complete the preparation to enter the teaching profession. Upon
graduation with the BME, students are certified to teach music for children, grades K–12 (kinder-
garten to end of secondary education in the USA) if they have met all certification requirements as
mandated by the Illinois State Board of Education.8

Secondary piano requirement


All students in music education, who are not piano majors, must take two semesters of piano as a
secondary instrument (students in the vocal and general specializations take three semesters).
Compared to Egypt, methods of instruction differ. For students studying piano as a secondary
instrument (minor), small group classes are given in digital piano laboratories.9 Class size is limited

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358 International Journal of Music Education 28(4)

to eight students meeting twice per week. As mentioned earlier, piano students in Egypt’s Faculty
of Music Education are taught on an individual basis. It should be noted that the curriculum for
students taking piano as a secondary instrument in group classes progresses through a very orga-
nized syllabus (Alexander, 2007) using two texts, Keyboard Musicianship, volumes I and II (Lyke,
Alexander, Caramia, & Haydon, 2003, 2004), that were designed for use with music majors.

The Piano major within Music Education


Of the approximately 50 music education students admitted each year, most are voice, brass, string,
woodwind or percussion majors. The few that select piano as their primary instrument take weekly
private lessons. The length of the lesson is determined by credit hours. Two credit hours equal a
30-minute private lesson and those who elect to study for four credit hours receive a 60-minute
private lesson. Music education students majoring in piano are required to complete 12 credit hours
of piano lessons in six semesters. The piano audition requirements for students entering into music
education are:10

1. All major and harmonic minor scales and arpeggios in four octaves (scales must be played
from memory)
2. At least one composition by J. S. Bach (e.g., Two- or Three-part Inventions, Preludes and
Fugues, etc.)
3. At least one movement from a sonata by Haydn, Mozart or Beethoven
4. At least one composition from a composer of the Romantic period or 20th-century
5. Harmonization of a familiar melody to be selected by the audition committee
6. Sight-reading

Bachelor of Music, Piano Performance major11


The Bachelor of Music degree is considered a professional degree and applicants for the Piano
Performance major must audition successfully in order to be admitted. Public performance is an
integral part of the training and piano majors participate in weekly studio classes and occasional
piano area recitals. Students in this program study their major instrument (piano) for 32 semester
hours (8 semesters) and a minor instrument for 8 semester hours (normally 4 semesters). Third- and
fourth-year students (juniors and seniors) are required to perform a 30-minute and 50-minute
recital respectively.
It is worth mentioning that the piano professor decides on the repertoire to be studied, in light
of each student’s level of proficiency and background. In general, piano performance majors have
a deeper pre-collegiate background in piano than students in music education.

Part 3: Comparison of curricula


In light of the above discussion, a general comparison can be made between Helwan University
(Helwan University, 2007–08) and the University of Illinois (UIUC Music Education Division,
n.d.), pinpointing weaknesses and strengths in the Egyptian Music Education curriculum. A com-
parison of the Music Education curriculum at Helwan University and the Choral Education spe-
cialization12 at the University of Illinois at Urbana-Champaign (UIUC) is shown in Table 1.
Semester of study is in (parenthesis) and credit hours13 are in [brackets].
One can see that UIUC Choral Education majors and Music majors at Helwan University study
many of the same theoretical and practical courses. Common core courses include music theory,

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Eid 359

Table 1.  Comparison of Music Education curricula

Egyptian Music Education curriculum UIUC Choral Education specialization

First year (freshman)

Basics of Music Theory (I)/Harmony (I–II) Theory Of Music I–II [4]


Western Solfège (I–II)/Eurhythmics (I) Aural Skills I–II [4]
History of Western Music (II) Basic Music Literature (I) [2]
Piano (I–II) Voice or Pianoi Lessons (I–II) [4]
Voice Trainingii [Class Voice] (I–II) Group Piano I–IIiii [4]
Voice, Orchestral or Arab Instrumentiv (I–II) Voice Minor (I–II)v [4]
Band Method Class (II) Music Ensemble (I–II) [2]
History and System of Education [Egyptian] (II) Technology Based Music Education [2]
Psychology (I) Introduction to Psychology [4]
Introduction to Pedagogy [Education] (II) [English] Composition (I) [3]
Analyses of Western Music (II) Natural Science/Technology (I) [3]
Foreign Language [English] (I–II) Foreign Languagevi (I–II) [8]
Basics of Arab Music (I)
Keyboard Improvisation (II)
Musical Prosody (II)
Arab Solfègevii (I–II)
Analysis of Arab Music I–II
Arab Singing (I)

Second year (sophomore)

Analyses of Western Music (I–II) Theory of Music III–IV (I–II) [4]


Western Solfège (I–II)/Eurhythmics (I) Aural Skills III–IV (I–II) [4]
Piano (I–II) Voice or Piano Lessons (I–II) [4]
Piano Accompaniment for School Songs (I–II) Group Piano III–IVviii (1-II) [4]
Band Method Class (II) Music Ensemble (I–II)[2]
Voice, Orchestral or Arab Instrument (I–II) Completion of Voice Minor (I) [2]
Music Education Teaching Methodology (II) Introduction to Music Education (I) [2]
Performance Collective [Convocation] (I) Elements of Conducting (II) [2]
General Teaching Methodology (I) Educational Policy Studies (I) [3]
History of Western Music (I–II) Western Cultures (II) [3]
Introduction to Computer Basics (II) Minority Cultures (II) [3]
Western Counterpoint (I–II) Literacy in Content Area (II) [1]
Voice Training [Class Voice] (I)
Harmony (part writing) and Keyboard (I–II)
Arab solfège (I)/Arab Singing (I)
History of Arab Music (I)
Analyses of Arab Music (I–II)
Foreign Language [English] (I)
Keyboard Improvisation (II)
Educational Psychology (II)

Third year (junior)


History and Analysis of Western Music (I–II) History of Music (I–II) [6]
Piano (I–II) Voice or Piano Lessons (I–II) [4]
(Continued)

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360 International Journal of Music Education 28(4)

Table 1.  (Continued)

Egyptian Music Education curriculum UIUC Choral Education specialization

Performance Collective [Convocation] (I) Music Ensemble (I–II) [2]


Teaching Music in the Elementary School (I–II)ix Teaching Music in the Elementary School (I) [3]
Music Education Teaching Methodology (II) Teaching Music in the Middle School (II) [3]
Conducting [Choral and Instrumental] (II) Choral Literature and Conducting (I–II) [4]
Voice, Orchestral or Arab Instrument (I–II) Early Field Experiencex (I–II) [2]
Solfège and Arab Music (I) Quantitative Reasoning (I) [3]
Educational Psychology [II] Social or Behavioral Science (I) [3]
Keyboard Improvisation (I) Natural Science and Technology (II) [3]
Harmony and Counterpoint (I–II) Humanities and Arts (II) [3]
[Western] Ear-training (I–II)
History and Analysis of Arab music (II)
Illustration Methodsxi (I)

Fourth year (senior)


Keyboard Improvisation (I) Music Ensemble (I–II) [0]
Education Curricula [in Higher Education] (I) Seminar in Music Education (I) [0]
Philosophy of Education (II) Principles of Music Education (I) [3]
Transposition [Orchestration] (I–II) Teaching of Choral Music (I) [3]
Voice, Orchestral or Arab Instrument (I–II) Choral Repertory and Performance
Preparation (I) [1]
Piano (I–II) Biological Science (I) [3]
Teaching Music in Preparatory Schoolxii [High Student Teaching (II)xiii [16]
School] (I–II)
History and Analysis of Western Music (I)
[Western] Ear-training (I–II)
History of Arab Music (II)
Arab Solfège (II)
Social and Health Psychology (II)
Notes:
i. Choral music education majors normally select voice or piano as the major instrument.
ii. All Egyptian music majors must take three semesters of class voice that emphasizes basic vocal skills and classroom
singing techniques. Class size averages 25.
iii.Voice majors in music education are required to take three semesters of piano or show proficiency.Voice majors
entering with no piano background are required to take four semesters of piano.
iv. Egyptian music majors all take piano as a major instrument. A second major instrument may be selected from voice, an
orchestral instrument or an Arab instrument.
v. Piano majors in music education must take voice lessons (a voice minor) for three semesters.
vi. The study of a foreign language is required if the admitted student did not meet the university entrance requirement
of two years of a foreign language during high school.
vii. Arab solfège involves singing and playing Arabic scale patterns.
viii. Group Piano IV is required only of voice students who enter the university with no piano.
ix. Throughout the junior year, Egyptian music majors observe and teach one day a week in an elementary school setting.
A music professor and an on-site teacher supervise each student.
x. Early field experience is devoted to observing classroom settings related to the student’s desired teaching interest and
competency.
xi. Illustration means teaching music notation through the use of visual aids in the elementary classroom.
xii. Throughout the senior year, Egyptian music majors observe and teach one day a week in a high school setting.  A
music professor and on-site teacher supervise each student.
xiii. The final semester of residency (normally the spring term of the senior year or fall term of a fifth year) is devoted to
practice teaching in public schools, at both elementary and secondary levels.

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Eid 361

ear-training or aural skills, music history, voice and piano. Divergence of curricula mainly occurs
because Egyptian students pursue the study of both western and Arab music. During the senior
year, Egyptian students are in residence the entire year whereas UIUC students are off-campus
student teaching during the final semester of residency.
One weakness in Egypt’s Faculty of Music Education that must be identified and addressed is
the entrance aptitude test:

1. The entering solfège test falls short in assessing the student’s actual ability to play the piano.
The solfège test is helpful in testing the student’s ability to sing and memorize melodies,
essential for pitch recognition. The rhythm test measures the student’s ability to maintain a
steady tempo. However, neither test assesses the student’s ability to play the piano or for that
matter any musical instrument.
2. The aptitude test does not assess the overall motor coordination between different muscles
of the fingers, hand, arm and shoulder. Some students exhibit weaknesses in small motor
coordination, which makes it hard for them to develop the hand and arm coordination neces-
sary for reading two clefs simultaneously.
3. The majority of applicants who wish to enroll in the music program usually have no prior
music education or experience. Egyptian music professors exert significant energy in teach-
ing basic musical and pianistic skills that should have been developed prior to matriculation.

Comparing piano study to a secondary instrument


The importance of piano study in the undergraduate music curriculum is well documented. As
early as 1944, Raymond Burrows14 broadly states:

The piano will be needed by all those who are majoring in teaching of some phase of music itself.
Included in this group are those who plan to teach general school music, instrumental music, music
appreciation, music history, music theory in its several branches, or performance in voice or on an
instrument. Some are preparing for work in the [public] schools, others in studios, conservatories and
colleges. (p. 11)

Now, six decades later, it could be argued by music educators that piano skills are essential only for
teachers of choral music. There surely are many examples of excellent instrumental and general
music teachers who teach well without a piano. Even so, current NASM guidelines state that,
within a common body of knowledge and skills, all undergraduate music majors must attain key-
board competency (NASM, 2008/2009, p. 84).15 How the competency is developed is the respon-
sibility of the individual school or department.
At the University of Illinois, the secondary piano curriculum for students studying piano as a
minor encompasses short musical examples that develop keyboard-reading skills in a progressive
manner. Additional activities focus on technical development, harmonizing melodies, improvising,
transposing and developing the ability to sight-read.
With the exception of vocal performance, vocal music education, and general music education,
only one year of piano is required of UIUC undergraduate music majors. A concern is whether tak-
ing only two semesters of piano is adequate preparation. By any reasonable musical standard, one
year of piano is not sufficient to develop competency at the keyboard, especially for music majors
who enter with no piano background. At UIUC, in recent years, the large majority (80%) of music
students enter with no background in piano. This parallels the fact that approximately 90% of
Egyptian music majors enter with no piano background.

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362 International Journal of Music Education 28(4)

Even though Egyptian music students enter with little or no music background, by the end of
four years they progress further in piano than the music education students at the University of
Illinois. This is because the Egyptian piano curriculum in the Faculty of Music Education is
designed with a vision to prepare all future music teachers as pianists. Thus, all students study
piano for five years (including the preparatory year), not just one year. In Egypt, the music profes-
sor is responsible for guiding the younger generations in the field of music and the piano is consid-
ered an essential tool in that preparation. Based on this perspective, the Helwan University piano
curriculum stresses that all music students develop piano skills leading to the repertoire at the early
advanced level of Bach Inventions and Chopin Waltzes.
It is also interesting to note, at least in the observations conducted at UIUC, that graduate teach-
ing assistants, not full-time professors, taught music education piano majors. This is not the case in
Egypt. Students studying major instruments are taught by faculty members.

Impact of the Bachelor of Music audition


One of the strengths at the UIUC School of Music is the audition for piano majors, which measures
the applicant’s prior knowledge of piano. The test or audition as such dictates that applicants should
obtain adequate training before enrolling in the program. This, of course, is in sharp contrast with
the aptitude test in Egypt’s Faculty of Music Education where students have little or no piano back-
ground and are tested using solfège and not a piano performance audition. Thus, UIUC piano
majors, whether in Music Education, Piano Performance or Piano Pedagogy, start with the appro-
priate musical background that allows them to progress and mature as pianists at a fast pace. If
Egyptian music students had comparable backgrounds, it would avoid the vast amount of remedial
teaching that the Egyptian piano faculty endures.
Unlike Egypt’s Faculty of Music Education, the UIUC School of Music does not set a specified
curriculum for piano majors. The professor for each student chooses the music scores or piano
repertoire according to individual needs. This can be a double-edged sword, because it gives the
professor the freedom to tailor the program according to the students’ needs, while at the same time
it lacks the uniformity that is sometimes necessary to guarantee a minimum level of achievement
assumed for each academic year.

Recommendations
The first step toward improving piano entrance standards in Egypt’s Faculty of Music Education is
changing the aptitude (admission) test so that it genuinely checks each candidate’s ability to play
the piano. Accordingly, I recommend the following changes:

  1. Incorporate a simple piano sight-reading exam as part of the aptitude test.


  2. Verify the applicant’s musical and pianistic skills by asking them to play a piano solo
piece.
  3. Test the applicant’s aural memory by asking them to listen to a musical excerpt played
several times in different ways and identifying the differences in each case.
  4. Organize a summer piano course or music camp for high school students to prepare them
for the revised aptitude test.
  5. Implement a piano preparatory program in order to draw interested children, K–12, to our
campus.
  6. Refine the piano curriculum to distinguish between students who enter with some piano
background (approximately 10–15% of each freshman class) and those who enter with no

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Eid 363

piano. For the latter, small group instruction (rather than weekly private lessons totaling 2
hours) would be a more efficient use of faculty time and foster general musicianship.16 In
a group environment, students could work on the basic skills beyond just playing pieces.
Lyke, Enoch and Haydon (1996, p. 419) recommend that class size be small.17
  7. Set up a digital MIDI18 piano laboratory for group instruction with corresponding teacher
training on how to use the equipment effectively.
  8. Revise the Helwan University Syllabus for Piano 2007–2008 to include a better balance
between technique and repertoire from all musical periods in each semester with a greater
variety of composers.19
  9. Require one 20–25 minute recital during the senior year.
10. For the preparatory year, adopt a beginning piano text designed for use with adult begin-
ners rather than using books based on an elementary children’s method.20 Such a volume
would be Keyboard Fundamentals, volume I, by Lyke, Edwards, Haydon, and Chioldi
(2006).

Conclusions
The art of piano teaching and its pedagogical approaches and emphasis have changed greatly dur-
ing the last 50 years. Wei (2008), in her insightful study on teaching piano to adults, states:

Pedagogical thought after 1940 continues to advocate that an instructional sequence for piano study
should foster the development and growth of musical understanding; aural control (critical self-listening),
rhythmic control, and technical control. (p. 37)

These changes are most evident in the teaching of beginners, whether adults or children, with the
continued development of appropriate instructional materials and emphasis on the development of
sound fundamentals of excellent piano playing accompanied by an ever-expanding knowledge of
music (Sabry, 1965, pp. 34–35): improving students’ performances has always spurred heated
debate among teachers of Egypt’s Faculty of Music Education. Raising the standard of piano play-
ing for matriculating students will depend on gradually embedding classical music in Egyptian
society and families encouraging their children, with provision, to take private lessons during the
elementary and secondary school years.
Solutions continue to be sought with respect to our educational policies and maintaining market
demand for music teachers in Egypt. In an attempt to solve many of these problems and also to
spread western music in Egyptian culture, the faculty inaugurated a Center for Arab and World
Music in 1998 that provides music education to individuals from all ages and groups. It would also
prove fruitful to host visiting scholars from different countries. This will help exchange knowledge
in the field of music education and improve dialogue among different cultures.

Notes
  1. The researcher’s academic appointment is at Menofia University; however she teaches on the faculty
of Helwan University.
  2. A general diploma in music education may precede formal master study. It is considered a pre-master
year for graduates from the faculty of specific education who have an earned BME. A general grade of
Very Good in the area of undergraduate specialization is required for admission.
  3. A PhD may be earned in the same four departments.
  4. Professors who teach methodologies of music education and supervise student teaching in secondary
schools have their academic appointments in this department.

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364 International Journal of Music Education 28(4)

  5. During the preparatory year, the student is only examined in piano at the end of the year. Students
develop their basic music reading skills through a set curriculum using elementary piano method
books. They also study scales, Bartók’s Mikrokosmos (Vol. 1), and one composition by an Egyptian
composer.
  6. Graduate music degrees (DMA, PhD, EdD, MM) are offered in various music disciplines at the mas-
ter’s and doctoral levels.
  7. Current curricular guidelines for the Baccalaureate Degree in Music Education appear in the
National Association of Schools of Music Handbook 2009–2010 (National Association of Schools
of Music (NASM), 2008/2009, pp. 94–8). These guidelines are organized by (1) Curricular Structure,
(2) Program Content, and (3) Desirable Attributes, Essential Competencies, and Professional
Procedures.
  8. Teacher certification requirements for the state of Illinois are available at the following website: http://
www.isbe.state.il.us/certification/Default.htm
  9. The UIUC School of Music has two fully equipped Yamaha Clavinova piano laboratories each with a
midi Visualizer.
10. The audition requirements for students entering in music education as a piano major are the same
as piano performance except that music education piano applicants must memorize only one
composition.
11. A related BM major, titled Piano Pedagogy, occurs in the open studies degree track. It is very similar
to the Piano Performance major except that students are required to take additional practica on the
topic of teaching piano. Additionally, only one degree recital is required though most students choose
to do two recitals (as is the case with the Piano Performance major). Students choosing this curriculum
desire richer preparation in the area of teaching, often wanting to combine private studio teaching with
performing after graduation. The entrance audition requirements for students entering the Piano
Pedagogy major are the same as Piano Performance.
12. There are three music education specializations at the University of Illinois, Choral, Instrumental and
General. For the purposes of this curricular comparison, Choral is selected, as it most resembles the
Egyptian Music Education curriculum.
13. Credit hours presently are not used at Helwan University.
14. Raymond Burrows is a distinguished American piano educator who served on the Piano Faculty of
Columbia University (New York City) and was one of the first who taught piano to college music
majors using group instruction techniques. Even today, this typed thesis influences contemporary
thought because it was one of the first case studies to compare collegiate private instruction (one on
one) with group piano teaching.
15. For all Music Education degrees, NASM further defines keyboard competency as acquired ‘functional
performance abilities in keyboard’ (NASM, 2008/2009, p. 96).
16. The recommended structure could be one of two models: Group classes meeting three times a week in
groups of 8–10 students or group classes meeting twice per week with one weekly 30-minute private
lesson for each student in the class. Either model would be more efficient than the current private les-
son model at Helwan University.
17. Lyke recommends, as do others, that first-year classes be limited to 10 students and second year
classes to six to eight students.
18. MIDI is the acronym for musical instrument digital interface.
19. For example, instead of citing only Bach and Bartók for the first semester of the freshman year, a wider
range of composers could be used including music from the Classical and Romantic periods.
20. Many adult piano texts, suitable for teaching beginners, have been developed for use in US music
schools and include compact discs with attractive teacher accompaniments.

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Eid 365

References

Alexander, R. (2007). Handbook for graduate assistants teaching group piano [typed document, 65 pages).
Champaign, IL: Author. (The author can be reached at the University of Illinois School of Music, 1114
West Nevada Street, Urbana, IL, 61801, USA.)
Anderson, R. (2001). Egypt, ancient music. In S. Sadie (Ed.), The new Grove dictionary of music and musi-
cians (2nd ed., Vol. 8, pp. 1–7). London: Macmillan.
Burrows, R. (1944). Elementary piano instruction in college [typed thesis]. New York: Columbia University
Teachers College.
Helwan University. (2007–08). Course catalog 2007–2008. Retrieved 5 July, 2008, from http://web.helwan.
edu.eg/tarbeyamusic/gadwall.htm
Lyke, J., Alexander, R., Caramia, T., & Haydon, G. (2003). Keyboard musicianship (8th ed., Vol. 1).
Champaign, IL: Stipes. Retrieved 5 July 2008, from http://www.stipes.com/music.html
Lyke, J., Alexander, R., Caramia, T., & Haydon, G. (2004). Keyboard musicianship (8th ed., Vol. II).
Champaign, IL: Stipes.
Lyke, J., Edwards, D., Haydon, G., & Chioldi, R. (2006). Keyboard fundamentals (4th ed., Vol. 1). Champaign,
IL: Stipes.
Lyke, J., Enoch, Y., & Haydon, G. (1996). Creative piano teaching (3rd ed.). Champaign, IL: Stipes.
Menofia University (2006–07). Courses catalog 2006–2007. Retrieved 5 July, 2008, from http://www.
menofia.edu.eg/
Music Educators National Conference. (1953). The evaluation of music education: Standards for the evalua-
tion of the college curriculum for the training of the school music teacher. Commission on Accreditation
and Certification in Music Education (pp. 1–5). Reston, VA: MENC.
National Association of Schools of Music (NASM). (2008, 22 December/2009, 16 June). National Association
of Schools of Music Handbook 2009–2010. Retrieved 20 September 2009, from http://muehandbook.
music.uiuc.edu/MECeight.pdfhttp://muehandbook.music.uiuc.edu/MECeight.pdf
Sabry, H. N. (1965). The adaptation of class piano methods as used in the United States of America for use in
the Egyptian educational system (doctoral dissertation, Indiana University, USA), Dissertation Abstracts
International, 26/10, 6093.
Shehab, Y. (1996). Contemporary Egyptian music (doctoral dissertation, University of Illinois at Urbana-
Champaign). Dissertation Abstracts International, 57/04, 1383.
UIUC Music Education Division (n.d.). Music education division undergraduate choral music education
handbook. Retrieved 2 July, 2008, from http://muehandbook.music.uiuc.edu/MECeight.pdf
Wei, M. H. (2008). The effects of a performance-oriented music appreciation class on beginning adult piano
study (doctoral dissertation, University of Illinois,USA). Dissertation Abstracts International, 70/02: 37.

Appendix: Syllabus for Piano 2007–2008i

First Year (freshman)


Piano I.
1. Scales: La, Mi, Ti (A, E, B), hands together, similar motion, one octave
i. Major and relative minor
ii. Harmonic, and melodic minor
iii. Harmonic minor, contrary motion, one octave
iv. Arpeggios of the above major and minor scales in root position

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366 International Journal of Music Education 28(4)

2. Technique A: Longo, Book 1A, select six exercises from page 8 to endii
3. Technique B: One original piece by Hoda Sabryiii
4. Bach: One selection from the Notebook for Anna Magdalena (omit no. 14)
5. Bartók: Mikrokosmos, Vol. 1, select four examples from no. 15 to the end of the book
Piano II.
1. Scales: Fa#, Do#, La-flat (F#, C#, A-flat), same as Piano I
2. Technique: Longo, Book 1A (same as Piano I)
3. Studies: Czerny, op. 599 (select one study)
Czerny, op. 261 (select one study)
4. Sonatina style: The first movement of any classical sonatina
5. Pieces: Two compositions, any style period (one must be by an Egyptian Composer)iv
6. Sight-reading: At the standard of the first year.

Second Year (sophomore)


Piano I.
1. Scales: Do, Sol (E, G), hands together, similar motion, two octaves
i. Major and relative minor
ii. Major, harmonic, and melodic minor
iii. Harmonic minor, contrary motion, two octaves
iv. Arpeggios of the above major and minor keys
v. Arpeggio of the dominant and diminished seventh in root position.
vi. The above major scales a third apart
2. Technique: Longo, Book IB (select five exercises)
3. Studies: Czerny, op. 849 (select one study)
4. Bach: Select one two-part invention from no. 1 to 7
5. Bartók: Mikrokosmos, Vol. II (any two pieces)
Piano II.
1. Scales: Re, Fa (D, F), same as piano I
2. Technique: Longo, Book IB (select five exercises different from Piano I)
3. Heller studies: Select one study from opera 45, 46, and 47
4. Sonatina style: Complete remaining movements of the same sonatina from
Piano II (first year)
5. Additional repertoire, select one composition from the following:
Chopin Mazurkas
Beethoven Bagatelles, op. 119
Mendelssohn Songs without Words or one Egyptian composition
6. Sight-Reading: At the standard of the second year.

Third Year (junior)v


Piano I.
1. Scales: La, Mi, Si or Ti (A, E, B), hands together, similar motion, two octaves
i. Major and pure minor
ii. Harmonic and melodic minor

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Eid 367

iii. Harmonic minor in contrary motion


iv. Arpeggios of the above major and minor scales in all positions
v. Arpeggio of the dominant and diminished seventh in root position
vi. Above scales a third apart
2. Technique: Longo, Book 1B, select four exercises using different techniques
3. Studies: Czerny, op. 299 or op. 636 (select one study)
4. Bach: Select one two-part invention from no. 8 to 15
5. Bartók: Mikrokosmos, Vol. III, select one composition
Piano II.
1. Scales: Si or Ti flat, Mi flat (B-flat and E-flat), same as Piano I
2. Technique: Longo, Book 1C, select four exercises using different techniques
3. Studies: Czerny, op. 599 (select one study)
Czerny, op. 261 (select one study)
4. Sonata style: The first movement from any sonata (any style period)
5. Additional repertoire, select two compositions from the following:
Chopin Mazurkas or Valses
Scarlatti Sonatas
Mendelssohn Songs without Words
Debussy Children’s Corner or one Egyptian composition
6. Sight-Reading: At the standard of the third year.
Notes to appendix:
i. The piano faculty within the performance department at Helwan University generated the content of this
appendix.
ii. Longo is a series of technical exercises in three volumes, 1A, 1B, and 1C written by the same Alessandro
Longo (1864–1945) who first catalogued the keyboard sonatas of Domenico Scarlatti.
iii. Hada Sobry is an Egyptian composer and full professor of piano at Helwan University.
iv. Some Egyptian composers commonly taught in Helwan University include Abu Bakr Khairat (1910–63),
Yusef Greiss (1899–1961) and Gamal Abdel Rahem (1924–88).
v. The fourth year (senior) piano requirements are listed in the body of the paper.

Author biography
Sahar Eid (PhD) is Associate Professor of Piano at Menofia University in Cairo, Egypt, where she teaches
undergraduate and graduate piano. Her doctoral dissertation was a study that compared selected dances by
Smetana and Dvorak. She is very active in her native country having recently presented papers at international
music conferences at Ain Shams University (Cairo) and Minia University (Minia, Egypt). Her recent paper,
‘Improvement in Piano Performance, A Comprehensive Perspective’, was presented at the international con-
ference Music Education: A Vision for the Future. She is active on many committees at Menofia University,
including the committee for purchasing musical instruments.

Abstracts
Une étude comparative des formations de piano entre l’Égypte et les Etats-Unis (En
faisant plus précisément référence à la faculté de musique de l’Université d’Illinois)

Cette démarche effectue une comparaison entre la faculté de musique à l’Université d’Illinois
(USA) et la faculté de l’éducation musicale à l’Université Helwan au Caire. L’étude a pour but
de répondre à deux questions: (1) Quelles faiblesses de la formation égyptienne menaient à de

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368 International Journal of Music Education 28(4)

mauvais résultats sur les contrôles pratiques de piano? (2) Quels remèdes peuvent être mis en
marche pour permettre aux élèves d’améliorer leurs résultats sur ces examens?
Cette recherche consiste en trois parties. La première partie présente un aperçu de l’enseignement
musical en Egypte et une description détaillée de la faculté de l’éducation musicale, ses origines,
et son développement à travers les années. Cette section étudie l’éducation musicale en général et,
plus précisément, la formation de piano, se concentrant sur les défauts pertinents qui aboutissent
aux niveaux faibles des élèves sur les examens mentionnés ci-dessus. La deuxième partie introduit
et explique la formation de piano à l’Université d’Illinois. La troisième partie effectue une compa-
raison entre les formations au sein de ces deux institutions, soulignant les points forts et faibles des
deux programmes. Nous concluons avec des recommandations pour atténuer les faiblesses consta-
tées dans la formation de piano de la faculté de musique à l’Université Helwan.

Eine vergleichende Studie von Klavierlehrgängen in Ägypten und den Vereinigten


Staaten (mit einem speziellen Bezug zu der Musikschule an der Universität in Illinois)
Diese Forschung beschreibt einen Vergleich zwischen der Musikschule an der Universität in
Illinois (USA) und der Fakultät für Musikerziehung an der Helwan Universität in Kairo, Ägypten.
Die Forschung beantwortet zwei wichtige Fragen: (1) welches sind die Mängel im ägyptischen
Klavierlehrgang,dass die Studenten dazu führt, beim Vorspiel in Prüfungen magere Resultate zu
haben? ( 2) Welche Schritte können unternommen werden,um diese Schwäche anzugehen und den
Studenten zu besseren Resultaten zu verhelfen?
Diese Forschung beinhaltet drei Teile: Teil eins bringt einen Überblick der Musikerziehung in
Ägypten,deren Ursprung und Entwicklung über die Jahre hinweg.Dieser Abschnitt wendet sich an
die Musikerziehung im Allgemeinen und den Klavierlehrgang im Besonderen mit dem Blick auf
die relevanten Mängel gerichtet, die Schuld sind an den dürftigen Resultaten der Studenten beim
Vorspielen. Der zweite Teil beleuchtet den Klavierlehrgang an der Musikschule der Universität in
Illinois. Der dritte Teil vergleicht Vordiplom Klavierlehrgänge aus beiden Situationen, mit dem
Hervorheben relevanter Stärken und Schwächen. Am Ende werden Empfehlungen vorgeschlagen
und in der Schlussfolgerung dargelegt, wie die Mängel im Klavierlehrgang der Fakultät für
Musikerziehung an der Helwan Universität angegangen werden können.

Un estudio comparativo de los planes de estudio de piano en Egipto y los Estados


Unidos (en particular, con la Facultad de Música de la Universidad de Illinois)
Esta investigación se basa en una comparación de la Facultad de Música de la Universidad de Illinois, en
los Estados Unidos, y la Facultad de Educación Musical de la Universidad Helwan en El Cairo, Egipto.
Contesta dos importantes preguntas: (1) ¿Qué debilidades de los programas de estudio de piano egipcios
llevan a los estudiantes a tener malos resultados en los exámenes? (2) ¿Qué pasos pueden proponerse para
solucionar esas debilidades y ayudar a los estudiantes a mejorar sus resultados en los exámenes de piano?
La investigación consta de tres partes. La primera presenta una panorámica de la educación
musical en Egipto y una descripción detallada de la Facultad de Educación Musical, su origen y su
desarrollo a lo largo de los años. Esta sección analiza la educación musical en general y los planes
de estudio de piano, en particular, a la vez que se centra en los defectos que llevan a los malos
resultados en la interpretación pianística. La segunda parte analiza el plan de estudios de piano en
la Facultad de Música de la Universidad de Illinois. La tercera parte compara los planes de estudios
de grado en ambas contextos educativos, resaltando las fortalezas y las debilidades relevantes.
Finalmente, se proponen recomendaciones para solucionar esas debilidades en el plan de estudios
de la Facultad de Educación Musical de la Universidad de Helwan.

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